UvA-DARE (Digital Academic Repository) ‘The Right Stuff’: From Western to melodrama and comedy Staat, W. DOI 10.25969/mediarep/3348 Publication date 2016 Document Version Final published version Published in NECSUS License CC BY-NC-ND Link to publication Citation for published version (APA): Staat, W. (2016). ‘The Right Stuff’: From Western to melodrama and comedy. NECSUS, 5(1), 77-93. https://doi.org/10.25969/mediarep/3348 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. 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UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org ‘The Right Stuff’: From Western to melodrama and comedy Wim Staat NECSUS 5 (1), Spring 2016: 77–93 URL: https://necsus-ejms.org/the-right-stuff-from-western-to- melodrama-and-comedy Keywords: comedy of remarriage, film genre, melodrama, space travel, Western The Right Stuff (1983) is a film about Project Mercury (1958-1963) and its protagonists, the first American astronauts.[1] It is an ensemble film, as it has an extended cast for several story lines interconnecting the lives of sev- en astronauts and the test pilot thought to be their predecessor in the 1940s. Philip Kaufman’s film shows how an unknown phenomenon – space travel – became a familiar topic by referring first to the Hollywood Western and then to melodrama and comedy. The Right Stuff uses genre elements to examine how astronauts in the 1960s became public figures. The film is a case point for the idea that we do not so much let an unknown phenome- non like space travel determine our cultural outlook, but instead use cultur- al habits like genre conventions to transform a new phenomenon into something with which we can cope. The film showed its audience that al- ready in the early days of space travel, starting with supersonic jet planes in the 1940s, film genres were used to prepare the general public for the space- age revolution. The Right Stuff addresses not only what its own audience knew about the decline of the Hollywood Western but also what audiences in the early days of space travel themselves used as their cultural reference for their understanding of a new phenomenon. To be sure, The Right Stuff aims to accurately portray actual events but never suggests being a docu- mentary. Its reference, rather, is Hollywood. Understanding the history of space travel in terms of what Hollywood has made of it requires an examination of how The Right Stuff has portrayed NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES the change of a covert military operation built on the skills of experienced test pilots into a civilian public relations project manned by rookie astro- nauts. The Hollywood Western was the film’s point of departure for its depiction of the astronaut’s immediate predecessor: the test pilot.[2] As this essay hopes to show, Kaufman went beyond the Western and proved the relevance of other genres as well. The essay argues that Stanley Cavell’s ‘melodrama of the unknown woman’ and his ‘comedy of remarriage’ are best suited for our understanding of the genres superseding the Western in The Right Stuff. Cavell is particularly relevant for The Right Stuff because he presents ‘the melodrama of the unknown woman’ as directly related to ‘the comedy of remarriage’, not as separate genres. When The Right Stuff appears to negotiate the relevance of comedies and melodramas for space travel, Cavell would say that the film does not so much waver between genres, it rather emphasises their interrelatedness. By exploring both melodrama and comedy the film portrays the ways in which genres are negotiated as rele- vant for our understanding of astronauts as protagonists in familiar films. Notably, Cavell’s first examples of melodramas and comedies are from the 1930s and 1940s – a familiar reference for the first astronaut audiences in the 1960s. Cavell describes his favorite comedies as expressing mutual ac- knowledgment, and his favorite melodramas as expressing existential lone- liness when acknowledgement is withheld. When The Right Stuff portrays the nearness of loneliness and acknowledgement it shows how space travel became understandable in reference to familiar household heroines and not just to lonesome horseback heroes. In the end The Right Stuff will have made clear that contemporary astro- nauts are not presented as lonesome cowboys but rather as generic family men, familiar from comedies and melodrama. Remarkably, what we know about genre helps us to understand the world around us. We do not make sense of the world and then, subsequently, use Hollywood to retrospectively entertain us about what has happened before. Instead, a film like The Right Stuff proves that the prospect of an ever-changing world will actually be dealt with along the lines of what already is most familiar. The world ex- tended by space travel does not determine a subsequent film – film deter- mines the world. 78 VOL 5 (1), 2016 ‘THE RIGHT STUFF’: FROM WESTERN TO MELODRAMA AND COMEDY The Hollywood genre production of The Right Stuff Before Kaufman directed The Right Stuff he was asked to supervise the re- working of Tom Wolfe’s 1979 novel of the same title into a film script. It was Kaufman who made clear that Wolfe’s journalist reportage-style novel should be adapted in its entirety. Both book and film cover the first Ameri- can plans to travel into space (the Mercury Program) right from its early years at Edwards Air Force Base in the Californian desert to its move to Houston, Texas, where the Mercury space crafts were launched. ‘The right stuff’ was an attribute of test pilots before it became a quality of astronauts. The film begins in 1947, shortly before the breaking of the sound barrier; it continues with the selection of seven Mercury astronauts, and it ends with the seventh astronaut circling Earth in 1963. The film’s plot is a collection of aviation and space-flight acumen presented with an American viewpoint, interrupted briefly by news item-styled reports on the Soviet’s continuing edge in space travel. Most of the film’s screen time is reserved for depic- tions of what it means, on a day to day basis, to be a test pilot, and then a recruit involved in severe training schedules, and ultimately an astronaut getting ready for launch. All events are presented in chronological order except for the extended parallel-editing sequence towards the end of the film, which depicts a dramatic crash by the film’s key test pilot in the Cali- fornian desert and a public relations event in Houston presenting the seven Mercury astronauts to their Texan audience. Two aspects of The Right Stuff relate to Hollywood genres. The first as- pect is the film’s adherence to Western conventions. In 2010, James Scott wrote that in its time the film was understood as reminiscent of the good old days of the American West depicted by the Hollywood Western.[3] The cowboy qualities of fighter pilot Chuck Yeager (born 1923), Scott explains, were welcome not only to counter the American back log after the Soviet Sputnik satellite in 1957 but also to combat the turbulent political times and economic tides of the film’s premiere in 1983. According to Scott ‘the geni- us of The Right Stuff lies in its refashioning and repositioning of the nostalgic cowboy virtues of Yeager, so as to streamline them for the space race and adapt them to the more turbulent world of the 1980s’.[4] Both Tom Charity in his book on The Right Stuff (1997) and Annette Insdorf in Philip Kaufman (2012) agree with Scott on the Hollywood Western as the notable genre reference that the film makes.[5] As Insdorf writes: STAAT 79 NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES The Right Stuff (1983) is a thrilling and quintessentially American motion picture about pilots conquering space the way cowboys once mastered Western land. Us- ing spacecrafts instead of horses, they stake out new territory.[6] For our understanding of the film’s rendition of the astronaut’s ascent, the second aspect of the way in which the film uses genre conventions becomes more important. To be sure, this second aspect has been less obvious in the reception of The Right Stuff. If the film is read through Cavell’s work on Hollywood melodrama it becomes clear that after the Western references were made prominent in the first part of the film, Cavell’s ‘melodrama of the unknown woman’ and his ‘comedy of re-marriage’ aptly describe the previously unacknowledged role of the wives of the astronauts in the film’s second and most substantial part. Although the wives were largely hidden from the general public, in The Right Stuff they significantly contextualise the private lives of astronauts as family men.[7] The film finds a balance between the dramatic and the comedic when a predicament in the public relations of the Mercury project is presented together with a potential prob- lem in Annie and John Glenn’s private life.